Re: Subject: [Harp-L] Looking for new inspiration

Chris, I've seen you post this kind of thing before, but the question is HOW
do you do that? How do you find the best position for playing a tune? I"ve
toyed around with writing a program that takes any tune and figures out the
tab for it in all positions and then suggests the ones that are most
"natural" to the instrument (ie fewest bends/obs in the most naive
conception of the program).

But for us underlings who aspire to your apparent talent/gift for the
instrument (and yes, I know you've practiced the bejesus out of the thing,
but don't kid yourself or us by claiming that you're not gifted), can you
give us some heuristics? I'm sure in your experience you can play/hear a
tune and have a general idea of what position it might play/sound best in.
Is there a charge for that information? Who knows, we might be willing to
pay it. :-)

On 4/27/07, Chris Michalek <chris@xxxxxxxxxxxxxxxxxxxx> wrote:

Not's quite right... I definately use them but I don't play in positions there they stick out. These days, I'm more about the *music* then the *technique* I never use them for the sake of just playing them. If I need a note I don't hesitate to get it regardless if it's a bend or ob etc.

Music matters more then technique which is why there will always more
people that dig a down home walter horton blues vs a howard levy down home

You'll never me play something because I can like playing something in Eb
on a C harp. You will never hear me play something like oh susana in
anything other than 1st because that's what sounds best.  You won't hear
much F# on C harp unless it's arabic music because then it sounds cool other
wise it sounds like crap.

There is not a single player on the planet that sounds GOOD through all
twelve keys on one harp. I think it's an exercise in arrogance to think you
can play anything in any key on one harmonica and sound GOOD.  Howard Levy
is the closest to truly walking through the door to what I call the twelve
tone demension.

Absolutely beautiful music can be made on this gem of an instrument in any
position as long is it is done appropriately...

>-----Original Message-----
>From: billhines4@xxxxxxxxxxx [mailto:billhines4@xxxxxxxxxxx]
>Sent: Thursday, April 26, 2007 10:30 AM
>To: harp-l@xxxxxxxxxx
>Subject: Re: Subject: [Harp-L] Looking for new inspiration
>"I couldn't agree more with Scooter about Jason Ricci and
Chris  Michalek  being modern players using overblows and taking
diatonics  far afield of  traditional blues"
>I think Chris said a while back though that he was no longer using
overblows? No question he had mastered the technique and implemented it in
his playing, but I believe he was saying that he just couldn't get
comfortable with the musicality or something. Just an FYI for someone that
might listen to his more recent material looking for OB, *if* my
recollection is correct and that is still his current stance, of course.
Could have just been a short period of artist frustration.
>Bill Hines
>Hershey, PA
>Harp-L is sponsored by SPAH,

Harp-L is sponsored by SPAH,

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